Bernardo Villela is like a mallrat except at the movies. He is a writer, director, editor and film enthusiast who seeks to continue to explore and learn about cinema, chronicle the journey and share his findings.

Day: September 26, 2015

No this is not the version that is wholly animated by Disney, that I previously discussed. Nor is this the live-action/animation blend with a contribution from Chuck Jones. This is a 1958 Soviet produced stop-motion animation version. The narration and intermittent dialogue is not subtitled. However, the Wikipedia blurb on the film should help delineate the variations between this version and the traditional. Aside from length:

The Russian animation studio Soyuzmultfilm produced a version of the work in 1958. It is puppet stop motion animation, directed by Anatoly Karanovich and narrated by I. Medvedyeva. This version makes the following changes to the story:

-In the beginning the bird sees the wolf in the forest and warns Peter’s grandfather, who goes to get the hunters and tells Peter not to leave the fenced-in yard.
– The cat, after failing to catch the bird and duck, goes to the forest to solicit the help of the wolf.
-Peter picks up the duck and runs to safety, leaving the cat outside with the wolf.
-The wolf, not being very particular, eats the cat.

In the cinematic equivalent of word association, the first movie that Finding Neighbors reminded me of is Scott Pilgrim vs. The World, which in many regards this film is the antithesis of. The reason this comes to mind is because of the obvious, occasional attempts at blending the graphic novel form, and some animation, with conventional live-action film this film makes. However, while Pilgrim’s video game/graphic novel-inspired flashes are necessary world-building here the artwork stands in lieu of montage, and as a sort of white elephant as the Flesh Fair barker in A.I. put it (“originality without purpose”). And even that very originality is dubious when you get beyond the fenestration to the narrative and the personages below.

The film’s presumed need for such affectation can be found in its synopsis. It centers itself around Sam Tucker’s (Michael O’Keefe) creative and mid-life crisis and his inability to connect with or even really talk to his wife, Mary (Catherine Dent). The flashpoint, such as it is, for the film is his now six-months overdue latest graphic novel. A lateness that has his publisher contacting their counsel and his agent having a conniption.

The film’s dealing with Sam’s mid-life crisis occurs mostly through his lack of forthcoming with issues and concerns that come up in his personal and work-life. This is an idea easy to identify with but issue is rendering it such that it’s interesting to watch. The built-in formula becomes quite tiresome. One entire subplot, that of his vixen neighbor Sherrie (Julie Mond), while necessary for the character is quite strange in its only slightly ascending stakes, and oddly disproportionate amount of screentime allotted to it. Much better realized is the main subplot, his burgeoning friendship with Jeff (Blake Bashoff).

It is in these scenes, and the climactic fights, and discussions, that O’Keefe is at his best, but Bashoff ultimately is the highlight of the film. While there are some smiles, and comfort to be found in the resolution this film finds it’s a bit predictable also.

Finding Neighbors is a fitting title because it’s in getting to know others that Sam really starts to examine his life, relationship, art, and struggles as he opens himself to let others in. In that the arc works well to building the bridge that will allow the eventually reconciliation and repentance for past omissions of emotion and attention. However, the road to get to that final destination is ultimately not one worth traveling.